Gelli Printing with Inkpads

1. Gelli Printing with Ink Pads Class: Hi there, I'm Cheryl and welcome to jelly printing with ink pads. In this class we're going to cover a bunch of different techniques used with ink pads on a jelly plate. And then I'm going to show you how to create cards out of them. Let's go take a look at what we're going to go over. In this class. We're going to use a jelly plate, the ones that I'm using R5 by seven, you could also use an eight by ten if that's what you have. I'm going to use mostly distress oxide pads. I'll go through in the first video, side-by-side comparison between regular distress pads and the oxide pads and why I chose to go with this one here, There's going to be four different sections of jelly printing for different videos of jelly printing. And we're gonna go over all sorts of different techniques to use with it, making prints along the way. Then from there we can choose which prints to use to create different cards. Now I'm gonna show you how to create one video, a card using a jelly plant jelly print embossed background. And then in another video we'll use texture paste on our background. Will also go through how to just use a dicot with a jelly print background and then how to die cut those jelly prints to create embellishments for your cards. These are the actual cards that we're going to be making. Very simple. Two are very similar to the sample cards. And the techniques are very, very simple, but it's always nice to know when you've learned how to do jelly printing, exactly how to use them and incorporate them. In this case, we're going to do some cards. This class comes with a supply list. It lists all the supplies used throughout the class. And it'll be linked to where you can purchase those supplies if you choose, or just to use as a reference. Also have pictures of all the samples there so that you can see the picture with the supplies used for that exact sample. Now let's go start doing some jelly printing. 2. Basic Gelli Print Background & Adding Stencils: Alright, so before we get started doing some jelly printing, let's talk about the supplies we have here. So I have 25 by seven jelly plates here. Now, you could also use an eight by ten jelly plate that would work as well. I'm printing on some printing paper that I've just cut in half. If you have a eight by ten jelly plate, you could use a full sheet. We're doing the printer paper simply because it's a lot less expensive than doing it on card stock. Once you've got some experience, you could print radon card stock because you'd be a little bit more confident about how it's gonna turn out. But if you're a beginner, doing it on printer paper is an excellent way to start. Because if you have prints that you're not liking as you're starting out, as you're learning. It's not a huge expense. For the most part, I'm doing the printer paper. There will be a few times where I'm using other people or paper and I'll share to share then what type of paper I'm using and why. For the first Also, I'm using a six inch rare. It just works really, really well for this size of in Jelly plate. You could use a smaller one. If you have a smaller one, you may want to wipe between colors just so that we're not transferring color from one thing to the other. Just realized I didn't clean this off from yesterday. For the most part, the base of all of the prints that I'm going to do in this class are going to be with speckled egg, broken China, and prize ribbon. And I chose to use oxide because I really liked how they blended together. But first off, let's do a comparison between just regular distress ink and oxide. They're very, very similar. If you only have the regular distressing or a regular D-pad, you could definitely use it and get very similar results by using the same colors as a base color. You'll be able to see how the different techniques work rather than seeing all the different colors and not really being able to compare them to each other. The first few videos in this class are going to be just doing jelly printing. And we're going to come up with a bunch of different prints. And then I'll show you how to create four very simple versions of cards that could be used with many of the prints that we're making. As you saw, I just put a line of each of the colors on my gel plate. I'm going to take my brayer. I'm just going to blend it. Now. I could blend it right in there. It's not going to hurt it, but because we're doing a side-by-side comparison, I'm going to clean my brayer off. To clean it off, the best way is using some baby wipes and then some paper towel to dry it. I do have some scrap paper beside. I could break it off, but it doesn't do it completely when we're working with impacts. Alright, I'm gonna leave that on there. There's still a lot of ink on that, Breyer and we're using it for 20 years or for the next sprint. Put your paper on your jelly plate. What you want to do is you want to make sure that you rub your whole plate to get really good contact with that paper. Because any place that it's not touching the print or the plate is where ink is not gonna transfer, then we can lift it up that there is the regular distress ink. Here we have oxide. You can see this is very, very similar. I can even go back and take another printed. It's going to be just a lot lighter. I had just clean my plate last night. So some of the beating up with the oxide is because I just cleaned my plate. All right. Well, there's no ink left on that side. Very little left on that side. Let's ink it up again. This time I'm just using the oxides. I find that you can usually can get two prints out of the ink from a brayer before you really need to add some more ink to it. See how they're still ink on that Breyer, and see how that second time in the print, it just blend it a little bit more evenly. That seems to be what is the most consistent with using the oxides phrase. I find that it tends to blend a little bit more easy. And I tend not to get as much of that little spotty look to it. That's why I chose to use the oxides. Because these are ink pads. They dry super, super quick. I really don't need to lay them aside individually to dry. I can just layer them on top of each other. Now let's take that up a notch and get a little bit of texture in there. I'm going to ink my Oops, pads again or ink my job plates again. If you find your ink pad is a little bit dry, make sure to rethink it so that we get a decent amount of ink. On your plate. Obviously this, these techniques will work with any colors. I just liked these three colors together and I liked the ombre look. I just think it looks a little bit more interesting by doing the ombre. Look. This plate is five by seven cards. We're gonna make our needed to be cut down to four inches by five and a quarter to go on the front of the card. But by doing the ombre look or doing a several colors at once, we can choose which part of that print we want most for whatever design we're using. Now I just realized I said we were going to use some stencils and completely forgot to add this pencil to it. So let's do that again. Those playing on gray ones, you could use them as is or you could go back and add some texture to them, add some stamping to them. Alright, now let's not forget the stencil. I have just a very simple water drops stencil. And what I'm going to do is add some darker ink. This is chipped sapphire. Just because I want you to be able to see the different color from the background. So I'm gonna use my smaller Breyer here. Blend it on there. Now let's take that and move it over here. Let's do, let's do it this way. Really either way would absolutely work. Once again, make sure your rubber really well so he's got good contact with your plate. This one here because the stencil is still on it. I want to make sure to press just a little bit harder and press that paper into the stencil. There. There we go. We got the difference between the background and the stencil and this one because we had the ink on the stance where we get a little bit of ink there, but then we mostly get the print from the background. Then from there. Go back. This portion is really just about playing with techniques and accumulating some different prints that we can choose from later. And we're really going to be accumulating a whole lot of prints. Once again, this is a watercolor pencil, but it absolutely could work with any stencil pattern you choose. That one didn't show up very well. Let's try it again. I know this is still ink on this side here, so we're still going to get a little bit of a light print there. Again, because we're using printer paper, it's very inexpensive, so I'm not wasting paper by doing this. And even this one here. Either I could use some of those little bits as parts to dicot later or I could reprint on it. Once again, that didn't really show up. Let's see what happens when we do this. That looks cool. So this is part of, part of the fun of jelly printing is just playing around and seeing what happens. In the next video, we are going to start playing around with stamps as well as dies, as a way to get some extra texture onto your plates. 3. Using Stamps & Dies with Gelli Printing: Alright, so first let's play with some stamps on our jelly plate. Once again, I'm gonna put my base colors down by using those same base colors every single time. And not only do you see how the different techniques change it up, you also get, are you also don't have to clean your brayer quite as often. Which means you can spend a lot more time playing. Rather than cleaning. The base color is down. I'm gonna take that same chip Sapphire that I used before. Well, first one I'm going to take a print up is this one. I'm not putting any income. I stamp. What I'm doing there is I'm ending up removing the color from the background on this one here. I'm going to ink up this stamp. I'm going to add some color to our background. Now, obviously, as you can see, I'm not using acrylic blocks with these stamps. You absolutely couldn't use acrylic blocks. It's really not going to change anything for you other than being able to remove the stamp a little bit easier. Now, there's incongruence stamps that has come from the gel plate. So what that means is once I am done taking this print, I can also stamp, stamps onto some paper and get a print that way. So there we've got the one where we just took some color away. There's the one where we add color. Now just remember when you're stamping, it's going to be the opposite. So that script one is actually backwards. But because of jelly printing and stuff like that, you really don't see it. You just see pattern. And this one here. If I were to use it on a card, I would want it to be on personally, I wouldn't want it to be on the right side. When I put it on the card. For this, I would change the ombre. So it was from dark at the top too light at the bottom. Let's take, well, before we do this, let's do this. Let's transfer that ink back onto the jelly print or jelly plate. For this one. Then for this one, let's just print it onto the paper. I'm just gonna put the paper on the plate just so it's within view here. There we go. Little bit of transfer from that jelly played, he's come off so we get a little bit of the turquoise color, a little bit of the different colors there. I could've taken that and put it on top of one of my other prints saved just with the Aubrey background or whatever. Just to see how that looks. There we go. Now we've got the transfer from the plate or from the stamp onto the plate. Those guys aside. Alright, so I have a couple of days cuts here ready to go. So these are just die cut out of card stock. Now because their card stock, the ink is not going to stay on the plate where the dicot is. It's going to transfer that color to the card stock, which means you could use this as a way to color your dicots, as well as a way of getting a print on your background. And this is one that I did yesterday and I already printed on that side, so I'm gonna do it on the other side so you can see it. First of all, we can get a print two this way. It does. It's not as detailed as the actual dichotomy is. Just keep that in mind when you're choosing dicots that are very detailed. That is going to change up a little bit. That's okay. Like I said, the ink is going to transfer to your dicot. So there'll be ink on the back here, which you could use on the front of a card, but there's still that outline ink, the background here. We could also use that. So another way of getting some really interesting looking prints, as well as creating embellishments for your card. Let's take this one up. Now this isn't my favorite way of using dye cuts with a jelly plate. That one isn't nearly as interesting to me is this one is still a very cool background. Let me show you next what is my favorite way of using dies with a gel player on my big shot here I have some butterfly dies. Here. I've got some fun foam that has a sticky back to it. I'm going to die cut these butterflies. They cut like butter. They cut just as easy as card stock. This week beside pop right out, let's move those stars to the side. I've got a piece of chip board. You could use serial board, you could use whatever you want. You just want something to be a little bit stiffer. And this is a nice, inexpensive way of having a stiff background. Corrugated cardboard would work as well. You just want to have something that is sturdy. Going to set that to the side. These are ones that I've already created. Basically, you're using your dyes to create stamps for your gel plate. Now before we move to the next step, the other thing that I want to show you is when the pieces are too big, it's easy to have a heart to just create a little handle for it. So you're going to take a piece of packing tape. You're going to make a little flap there that sticks together and then tape it to the back here. This just makes it really easy to lift off your plate when you're stamping with it. Now obviously you can use your individual dies and create a background or you can use a background die. This one here. I created that background die and then just use the circles to create polka dots. You can use whatever it is that you're wanting. I am going to use the leaf and the veining things. We're gonna do two things with it. First of all, I'm going to ink them. And I put a light green here. You can tell that I'm being super, super careful not about where I put my color. I just want to make sure the full thing is inked. I'm not really worried about being precise. I'm just going to put this one here. I've already got the ink on my background here, just to save you time watching me doing the same thing. So I did the same from ombre background as we've been doing this whole time. And I'm just going to randomly put that darker green there. Then. Press it all down, same as a jelly print. You'll want to make sure that everything is touching. I'm gonna get a piece of paper here to the side. I just want you to be able to see me stamping it. I'm going to lift this up and I'm going to stamp it onto some paper. Create a print that way. And then I can take this, create another print there. And I can even go back and do one more here, and it's gonna be just a lot later. Let's do the same for this one. Here that I've got the full thing covered. Then you get the positive image, and then this is the negative image. Let's do one more and we'll get a lighter version. Here. You go. There's one more way you can use your dies. This one here I used and I die cut some tuple paper. I'm just going to ink my background will be back in a second and show you what we can do with that. To my background is inked and Breyer. So what I'm going to do is I'm going to use a pink color for this one. Now, this is where you need to worry, not worried. You need to be aware of how much detail your dyes have. Because first of all, this one was a little bit more difficult to die cut out of the UPA paper because there was so much detail in that dicot. There are some parts of the central flower that I couldn't pop out, but it's still looks really cool when it's done. I'm taking this, I'm just going to turn it over and transfer it. Let us take this print here. So it still looks like a really, really cool background and it's really interesting on the sample cards. So that is one of the cards are one of the backgrounds that I created a card with. I've got that one. They're going to lift this piece off here. The nice thing with a UFO paper, because it's synthetic paper is I can just rinse that off and reuse that over and over again. So even though you pull paper is a little bit more expensive, when you do something like with this, it's reusable. And that's another background right there. I'll see you in the next video and we're gonna do some other ways to do backgrounds. 4. Using Embossing Folder & Found Objects for Gel Prints: All right. Before we continue, There's a couple of things that I realized that I had forgot to mention in the first video. First of all, we did a side-by-side comparison of how distressed ink look as well as how distress oxide ink looked with the background. And I just wanted to explain the difference between the two of them for a moment. Distress ink is just a die background. Distress oxide is a dye and pigment blend. Now for what we're using there, great because both of them are easy, Water-soluble cleanup. So that's why a baby wipe would work. A wet cloth would work as well. So if you don't have either of those types of inks, dye type ink pad would work. I'm not sure if there's another brand of a dye pigment blend, but you want to make sure that it's water-soluble in order to clean up off your jelly plate easy. The other thing is, is you've seen me with a rare anytime I put the barrier down, I don't put the ink side down, I flip it over. There's always a stand on the different barriers and that keeps the ink fresh. It doesn't create a line in there with ink removed, as well as the fact that if you store your brayer this way, we end up getting a flat part on your Breyer. So do want to make sure that you turn it over and have it lined up like that. I've got obviously you saw me put ink on my brayer. Let's explore some different ways of getting some textured backgrounds. One way is with an embossing folder. Now you can do this two ways. You could use the actual folder or you can use an embossed print. And I'll show you the difference between the two. So when you have an embossing folder, there's a positive image and a negative image. So you need to decide which one you want to choose. For this, we're going to actually use both. I'm gonna do one side on this one, then the other side on this one. When you're using embossing folders, you want to make sure that once you're done doing this, you do clean them up because if you leave ink in there, when you go to use it for another project, you're going to have eight contamination. But once again, they clean up easily with water, so they're very, very easy to clean out. You just wipe it right out. Run it under the tap would work as well. What's gonna be created here is you're going to get two opposite images. One is going to be the background with the dots and one of them is going to be just the dots. So I accidentally grab two sheets of paper there. There's the one that background there. And then there's the other background there. In this case, they look very similar. This one is where we pressed the dots and this one was the background. But just something to be aware of when you're just trying to create a printed background with some texture, either one would absolutely work. Now, the other option is using a piece of paper that has already been embossed with a dye or sorry, within a Boston folder, I'm gonna do two different ones here. 1 second. I just realized that I forgot to rethink. My Julie played. You're not gonna get a very good look if we haven't react. Let's try that again. I'm putting my paper down, making sure to rub it to get some good transfer there. Again, once this is gonna do is it's going to transfer the ink to the card stock, as well as transfer the pattern to the paper. So these can either be set aside and used regularly for jelly printing or you could use them to embellish the front of a card. So we will be doing a card that has an embossed front. Then now we can print off. There, we get the texture from that leaf embossing folder. Then the texture from that stone is one. Now when I was playing around, I did a whole bunch of them. I'm going to show you them quickly. So this one is a typewriter embossing folder and you can see some of them are better as backgrounds or prints and sometimes they're better as the embossed or the inked embossing folder. But it's fun way to try to use your embossing folders a little bit better. This one here was a second print, so I didn't get a whole lot of ink on either one of them. But a great way to get just some texture in your backgrounds with tools that you may already have. The other thing that is really fun to do with jelly plate printing is just using found objects around your house. Bubble wrap is always a popular one. Cardboard is also another popular one. I'm just things around your house that have some great texture to them. Once again, inked background. I have a bunch of found objects and they began the sky is the limit with this. You're only limited to your imagination. This one here is just a piece of cardboard. And I typically keep that piece of cardboard and regularly jelly print with it. Because it just is a perfect one for creating texture. This is another piece of box that happened to have a really cool texture in it. Get some paper here. It makes you really think of things around your house and how they might look on a jelly print, what type of print they might make. This one here. We could have also taken, and after we did it this way and then made kind of a plaid pattern. Got two more things here to show you. This one is just something from the dollar store with alphabets. So I'm gonna put it backwards so that my print will be the right way around. Wants to take that plate with me. Then I've got some bubble wrap here. Now this bubble wrap has an acrylic paint on it, so that is likely to transfer to the jelly plate. But it's not going to affect what we're gonna do. And it can easily be cleaned up with just some just a baby wipe. If it persists and if it's annoying to have little bits of acrylic paint on there, you can always do a thin layer of acrylic paint and then pull up the remaining bits on there. That one there. Again, a cool background. Then I loved the bubble print one. Just a neat dotted background. Really, you could have dipped any of those things into ink first and then transferred some ink over with it as well. Another super simple and easy way for texture is tissue paper. Now this doesn't have to be brand new tissue paper. You can use recycled tissue paper, pull it, put it in there, listed up and get a print. The other thing that I've done is I've manipulated to try to create other patterns and then dipped it in there and lifted it up. Again. It's just a neat overall random background. Just a random crumbly background that you can use in your projects. Now this one, when I had this in my head, I thought it was going to maybe look a little bit more like roses and it really doesn't. But still it creates a really cool background. I'll see you in the next video and we'll explore some final ideas and different things that you can do with jelly printing. 5. Emboss Resist & Using Sprays in Gelli Printing: All right, so this is the section where we're gonna be using some different papers when we're creating our jelly prints. The first thing that we're gonna do is an emboss. Emboss resist background. I'm inking my stamp with some clear embossing ink. And I am going to emboss it with some clear powder. I'm just using some regular card stock with this. But this is going to work much easier than trying to do it on printer paper and then blowing it onto card stock for making cards. Just pouring the powder on making sure that it goes over the entire surface. And then I'm going to heat it with my heat gun and melting of the powder. There we go. Our background is completely embossed. And I'm actually going to do it a second time so that we have two of them. We've got the second one embossed. So first one is regular card stock, second one is the paper for my delusions journal. It's a mixed media paper, so it is made so that it would handle other mediums so I can use it with some distress. It sprays the sprays or wet mediums don't really work well with regular card stock. It's not meant for wet mediums. So I've already got my embossing here, I've got my ink down. Let's press it down in background. And I just wanted you to see the difference between how it looks with just an inch and Brainerd background or with sprays. There we go, the embossing completely resists the ink from the background. If you get a little bit of ink bubbling on top of the embossing powder. Embossing, just wait for it to completely dry and then you can use a baby wipes to wipe it clean. I don't find a mind that that much after this, you can also just take a print of that background because some of the ink stays down there and it creates kind of a cool print. The next one is with some sprays. Now, I have a mixture of regular distress sprays and oxides sprays, try not to drop it onto your plate. If you're using oxide sprays, you want to make sure that you've mixed them together so that you get the pigment and the dye mixed before spraying them. And now I'm going to put my paper in there. You can see as we're going, my hands are getting fairly blue from the die. It is dydt, it's going to die your hands. If that bothers you, you can use some gloves to keep your hands clean. I don't find it bothers me. So there we get another resist, but they look at both very different. When you're doing this one with some liquid mediums, make sure you're using a paper that can handle the liquid medium. This needs to be set aside to dry. I've still got some ink on there. I'm going to lift that up here and create another background with that. For this, the only thing appropriate for the printer paper is just to be using behind it. Because obviously these sprays on here look completely different than that. They react totally different. And this is definitely a not an appropriate use of the printer paper. These were using the extra drips, not my favorite background, but it could be really cool if it was die cut into a shape and used in that way. Now let us put some more sprays downloads, get. That other way. The one thing was sprays. You want to make sure you have your background covered because it is very easy to have over spray. You don't want to spray on something that you're not wanting to get over spray on. I could just print it like this with just this phrase on. But let's have a little bit of fun. I've got some micro spray here. I'm going to put some of this micro spray on with this one and it's just going to add just a really subtle shimmer. And then the other thing I have here is some perfect pearls. In computer, I just chose the pwd or simply because it was very similar color to the micro spray. You can use again, whatever color you're wanting. Perfect pearls are a micro powder, but they have a binding agent in them. So the liquid from the sprays, the water from the sprays will activate that binding agent. I am going to spray it with a little bit of water on this one just to get a little bit more moisture with those pearls. If you wanted, you could take a paintbrush to move it around a little bit. Because they do tend to stay in the same area. They don't move and flow. So let's put one down. Let us put another one down. You could try just using your finger to move the inks around to get it all completely to get contact with that jelly plate. But I do find the printer paper helps. The subtle the print or the sparkle in this one from the pearl spray, the mica spray is a very subtle, It's gonna be more prominent in this one, but it is going to be concentrated to the areas where I put that parole down. There you go. Once again, if you were to take a paintbrush before doing it and move it around, it would be moved around a little bit more. It's just an interesting background, background with those blobs of a mica. There. I'm going to completely clean this up. And I will see you in the next actually, no, I'm going to wait till the next video and we'll clean it all up together while I talk about cleaning care of usually plate. 6. Gelli Plate Cleaning & Care: Alright, so I still have a lot of moisture on here, so I'm just going to soften it up with some paper towel just to get as much as possible. Now, when it comes to cleaning and caring for your Shelly plate. Like I said before, these inks are water-soluble, so you really only need a wet cloth or a baby wipe to get those inks off of it. Where did my baby wipes for me here. I bought all the excess ink off it there. For this, I am going to just clean it off with with the baby wipe. And you see that a lot of ink comes off when you do it this way. There's a lot of ink often on there that you don't see. So you didn't really want to make sure after doing this technique that you have it all cleaned off. So you don't have some residual ink on there and I'm gonna do the same with my brayer. I live somewhere where it's a very humid or fairly humid climate, so I don't find that my gel plates ever dry out. But if they do, you can just use some mineral oil on them and help to rehydrate them. You also can get, there's a product that's jelly plate cleaning and conditioner that you could also use as well. But really that is all there is to cleaning your jelly plate. Then once that is done, I'm just trying to find the package. I put it right back into my package and I store it in the package. The package, when you get your plate, it comes with acetate sheets off on it, one for each side and I always take them off when I'm printing. And then store it within those acetate sheets and put it right back into the package. Then it's protected, are ready to go for the next time that I want to tell the print. In the next part, we'll show you how to create some cards with some of these jelly, jelly prints and how to prepare your printer paper pins, prints in order to use on cards. 7. Picking & Prepping Gelli Prints for Card Making: All right, so now we have a whole lot of prints to pick out from to create our cards. So I'm gonna make one card with one of the 3D or the embossing folder backgrounds. I'm gonna make one card with texture paste on the front. One card with a jelly print background with a dicot, and then one card where we die cut some of the jelly prints. So I need to pick four different ones out. And I think I'm going to use this one for the 3D, for the folder. I think I'm gonna do this background here, which is the plane texture paste this one here. I'm gonna do the one with the embossing glaze on top of it. I think that would look kind of cool with this here on the background. It's great to have so much selection, but it also makes it hard to select so many different ones. For the woman of the dicot. I think the one that I liked this card here. So I think I'm gonna do one of the jelly prints on the DNA. The dianne really dialing delusions journal because it looks kind of like ocean water to me. So I'm gonna use this one for that, so that is already corrupt and then I need something for this one here. Now, which one to print? I think I'm gonna do this one here. And I'm going to do it very similar to this. I'm going to use the jelly print that has that leafy background on it. If I can find it in our stack, then I also want to pick out a jelly print in order to die cut. Going to use that one for a die cutting with bird. Actually going to use this one is that I like. This one has got a little bit more darker, a little bit more definition between the darks and the lights. That leafy print, where is it? It's a little bit more splotchy then the one that I did the other day, but that is okay. We've got our footprints here that we're going to use. This one. I don't need to prep it other than cutting it down so that one is good this way. These two here, these three here, I need to prep them. So let's move stuff out of the way. Let me show you how I prep them. So I've got my three prints here. I'm going to get three pieces of card stock here. Now these are cut their quarter sheet of an 8.5 by 11 piece of paper. So they are four and a quarter by 5.5. I'm going to cut this down to four and a quarter by 5.5. I want to have more of the bottom side here with a darker print. I'm cutting these at four and a quarter by 5.5. They're gonna be glued to the card stock. Then when I go to use them for my cards, I'm actually going to cut them down a quarter inch further. So therefore by five and a quarter, I'm making them a little bit bigger to glue onto the card stock so that I have a little bit of leeway. If it happens to glue on just a little bit off, I have some space to trim down. I'm gonna make my burden on the lighter side of this one. Here we go. Let's move the tremor. Get rid of my scraps here. These you could some of them you could keep to use for other projects. I am going to just toss them for right now. I've got some collage medium and a Collage brush. This is just a piece of tape backing. I'm going to put my card stock piece down, add the collage glue, and then I'm going to glue them together and then they need to sit and dry. The glue has to be completely dry. Before we go to the next step. I hold it in the center so that it doesn't move. And then just brush my glue on. Press it down firmly so that it is glued in place and then set it aside to dry. And then do that for the other two. You'll want to make sure that this brush gets dried or gets cleaned right away. After doing this, we don't want that glue to dry the brush at all because you'll ruin your brush. So see you there. It's a little bit off now my glue is still wet. I can shift it, but that's what I mean. I want to make sure that I have just a little bit extra room so that I can trim it down. It's nice having that little extra bit for insurance. Now you'll notice I put my piece in the same spot and that was just so that it didn't I didn't dip it into the wet glue or glue onto the back of it to try be a little bit neater. All right. I'm going to let those completely dry, close up my glue, clean up my glue out of my Collage brush, and we'll be back to make the card with the embossing folder background first. I'll see you then. 8. Creating a Card with an Embossed Gel Print Background: Alright, so the first card we're gonna make is one with one of the jelly printed embossing pieces. We've already chosen our rocks piece. These are the two samples I have. It doesn't matter what your embossing folder is. It just creates a textured background. And then we're gonna put some dye cuts in the front. I'm going to do the flower one here so I can show you how I colored those flowers. Got two of my dicots already done. I'm just going to die cut the last one here. I'm going to run that through. And then we can get the machine out of our way. First step, we need to poke them out of the die. Now all three of these flowers are from the same set. They're just different flowers. It gives it a little bit of variation. I will put on the supply list. I'll have a picture of each of the cards and the supplies used for each in case you're wondering what's used for the rest of it as well as the ink pad colors and stuff like that. All right, so we've got those already. Before I start to color these. What I want to do is anchor around embossed piece and I'm going to glue it to the card front simply because these embossed pieces and this one especially is quite warped. They need to be weighed down in order to dry so that it'll dry nice and flat. And then it should be somewhat ready for us by the next, by the time we're ready to glue on the flowers, I've got a block here that I'm going to weigh it down with. I just got to take the stamps off. Let's do that now. Putting the glue on, I want to make sure, especially to get glue on the parts that are going to make contact with our card base. I'm definitely not going to be skimpy with the blue. Then I'm going to center it. I'm just putting it right here, so it's out of my way. I'm going to put my acrylic block down a tiny bit and that can hold that there. If you need a little bit of extra weight, you can put some extra weight on it. I don't have anything else that's that heavy, so I'll just leave that glue on every now. I've got my die cuts here. And I'm going to any bits that are in-between that didn't come up when you die, cut them, you want to take those out now, should've gotten this ready ahead of time. But God about these little things. These are little mini distress blending sticks. And I'm going to use that to help color my dicots. Gonna do the green for the stems first and then I will use the pink for the flowers. Now what I didn't do in this one that I did do in these ones is I used to jumbo doctor and I inked around the edges. If you want to frame it a little bit more, you will want to do that step before gluing it down. I got a little bit too eager and forgot about that step and just glued it down. So these basically they're just little pieces of foam on the end of a dowel. You can buy them this way. You could also use a Q-tip or something like that. That would work as well. But all I'm doing is using them to color in my dicot. When I have a bigger die kettle often used like a jumbled arbor or finger dollar for something smaller like this, a little bit more detailed. These are handy because you can get in fairly detailed areas. You can be a little bit more precise with your inking. Now I got a little bit at the bottom of the flower, but I don't really worry too much about that. That could be just a little bit of greenery. When you're looking at the whole thing as a whole. When people are, you tend not to look at all the fine detail exactly how it's colored for something like this anyways. All right. Now the pink clearly got some of the blue when I was putting it on the jelly plate. If you're concerned about that. I would say user we anchor instead or smush it onto your surface first before inking your plate. It's funny it didn't do that the first time I used it that way, but it didn't do it this time. So tends not to affect the color anyways, because that's just on the surface. In general, I don't usually worry too much about it. Now you can see when I'm, when I'm inking this here that there is definitely some lines from my phone. I'm a little bit heavier on the outside, it seems on the inside. You can, if you want, just direct that at a place that you want the flower a little bit more, little bit darker. You can also use it in a circular motion to blend it out. I tend to be a little bit more careful when I'm doing it in a blended motion because it's just a tiny little piece of foam that I don't think is very I think you would easily be able to tear up the foam if you weren't careful. Alright. I'm going to glue these pieces on here. And then I'm going to weigh it down again. That probably wasn't quite enough time to hold the die, cut, the embossed piece down really, really well. So I want to make sure to put my acrylic block right back over top of it to give it a little bit more weight. While I'm doing the sentiment piece. I'm just lightly laying them on top of each other. I don't need to make sure it has contact yet because the acrylic block, when I put it on there to weight down that will do that. There we go. Use place in however you like. And then sit them down. I'm going to clean this off first before doing my sentiments. Now the sentiment is from a set called tiny text that I'll put on the supply list. It's just a full set of all different sentiments and I tend to make an entire sheet of them and cut them down so that I have a lot of sentiments to use at one time. So what I'm going to do with that, because I'm going to take a piece of my blue here and I'm gonna create a mat around it so that it just pops up. If I put this on the card like this, you don't see it as well as when it has something around it that frames it. Just had a little bit of a paper tear on there. So let's get that up. I'm going to use this part here so that I can use some of this. I'm going to glue it on first. Then I'm going to use my tremor to trim around it. No, it does get a little bit fiddly trying to cut a really, really tiny border. And it's one of those things that get, gets easier over time. Alright, now I'm going to put this room for my block here, trying not to shift it. I line it up with the ruler on my tremor in order to get a nice straight cut. That's pretty good. And then I line up with the one on the end to get that cutoff there. There we've got our piece here. Now really, if I was doing this just alone, I would make sure that I have this stuff all out of the way. But I just wanted you to be able to see this as it is. Dry. My phone pop dots. I had them right here but oh, there now I see exactly where they are. One of those things that you don't see, even though it's read in front of you. You could glue this straight flat to the card as well if you wanted. I like the phone pop dots because it keeps it a tiny little bit of extra dimension. Back. He doesn't want to come off. There we go. That other backend didn't want to come off. Alright. Line it up. There we go. Very simple and easy card, just done with one of the embossing folder, jelly print backgrounds will see you in the next card. We're going to do the one with some texture paste. 9. Creating a Gelli Print Card with Texture Paste: All right, so our second card is going to be using texture based on the background. So we're gonna do this one here with the bubbles. And we're also going to put some embossing glazes on top of it. There are colors that match are background colors. So I'm just going to put the dark blue at the bottom, medium in the middle, light at the top. You could, if you want to use whatever texture pace you want and put it on and let it completely dry. Now you'll see with the texture paste how it looks like. It's a little bit colored that simply by putting it on the background and letting it dry the ink below because it's water-soluble and because it's a dye ink, it seeps into that texture paste coloring it all on its own with no effort. First step is to cut your piece down to the size. For our card front, we want this to be four inches by five and a quarter. I've already got that cut down. Next thing we're gonna do is we're going to tape, piece down, then position our stencil and tape it as well. Now, typically you would use it backwards. That would take the tape. This actually doesn't take the tape. I'm just going through the motions. The reason for the tape is so that when you're done, when you're lifting it up, you can lift it up like this. And if you happen to lose your hand on it and it falls, it doesn't wreck your texture. Paste the side. I have a scrap piece of paper, and I'm going to use that with this. Once I have my texture, paste it down, I'm gonna be putting the embossing glaze on it while it's wet so that it can dry with the embossing glaze on it. Then we're going to heat up the embossing glaze. Now, you have two ways you can do this. You can either melt the embossing glass wall, the texture paint is still wet. In that case, the paste will bubble up, which may stay bubbled up once you are done. Or it may go back down. For this particular one. I liked the look of that with bubbles. So I'm gonna do it while it's wet. But just keep in mind that that dimension may not stay in there. And even when you're done embossing, you do need to let the rest of it dry. It will only be the top of the piece that is actually in Boston bubbled the rest of the texture paste is still going to be wet. So just be careful. I'm trying not to use too much embossing glaze here because the excess can't be put in each individual container. I do happen to have a container that I use for mixes. But you don't want to use up a whole bunch of your powders, not be able to put them back. I tend to have a mixture of blues just for say, one day if I'm doing water or something I can use that. You'll also notice that I'm not completely covering the area. I'll show you why in a moment. We're going to let that powder bounce around to cover the remaining areas before we take it off. I'm going to lift this piece up, make sure you're doing this on a scrap piece of paper. I'm touching an area that doesn't have texture paste. And I'm just going to tap on the back and let that powder bounce around a little bit and that's going to cover the rest of it. I am going to put the powder right back on because I see there's a spot there that's not covered as well as read there. If it happens to get covered with a mixture that's not exactly the same, That's totally fine. There we go. Put that powder to the side. We're going to use our heat gun and we're going to melt that powder. For this version. Alright, so that is completely melted and you'll see some of them are puffed up, some of them have already gone back down. I need to set that aside to dry. Probably about 15 minutes, half an hour is what it's gonna take. While we're waiting for that, I am going to take another scrap of paper here. I've got my seahorse stamp. I am going to stamp it with my embossing ink. We're going to emboss it with silver. Now. I'm going to take this print here. That was the second print with those sprays. Going to use that one minus we use some of the texture there. I'm stamping where I want to see the texture on my stamped image, going to put the powder down. Let's move the Inca to the way the stamp out of the way. I'm going to emboss that, that I would hand cut. I don't have a die that matches that particular stamp, so that would get hand cut out to use as an embellishment on the card. Let's move the embossing powder out of the way. And then the last step to prep while we are waiting is we're going to use this particular sentiment on it. And I'm gonna do that the same way that I did the one on the last card. I want to have a little mat around it. I want to trim that out. So once again, I'm trying to put it on there as evenly as possible. My tremor to trim it. For this segment, I just put my stencil to the side. You do want to clean the texture, paste off of it as quickly as possible so that it doesn't dry on there. But just be aware, don't leave it aside and then let it accidentally dry all the way your stencil, it's gonna be a lot harder to get off if you do that. So I'm going to off-camera cut this out, let the texture paste dry. I'll be back in a moment for you and we'll put the car together. Alright, so our texture paste is completely dried, so we're going to glue it to the card base first. Now typically I would just like the first card, I would weigh it down before gluing on the extra elements. But for time, I'm gonna do it all at once and then I'm gonna weigh everything down all at once. So you'll see things pop up here. And that's simply because it needs to be held down in order for the glue to stick because it's a little bit warped. I'm going to add the seahorse. Then on this part here because I've got texture based on this side, I don't need to put my pop-up dot on that side, but I am going to put it on the side that just sticks to the card because I want to have a little bit of extra dimension. I don't want the sentiment to be partly up and partly down. So by putting some pop dots on the one end that doesn't have texture paste below it. That's going to help even it out a little bit. It may not be the exact dimension, but it's going to be closer than not having anything at all. There we go. The card is together. I'm going to put my block on that and I'm going to let that dry while it's weighted down. So our second card is done. I'll see you in the next video for the next card. 10. Creating a Gelli Print Card with a Die Cut: All right, so our next card is going to be a jelly paint background with a DJ iPad on top of it. And once again, it doesn't matter which backgrounds you choose or which dicot you choose. Now, when I do background or choose backgrounds for cards, I tend to choose ones that are a little bit simple. These ones are a little bit more fancy than what I normally do. And as you saw me in the picking process, I chose to do this one with the wheels. This is the one that I chose. It's got a tiny little bit of shimmer from that mic spray. For the very first step is I want to glue it down to my card base and way that down while I'm die cutting the wheel. Just a little bit of glue around the edges and then the center. Tuck it to the side here. And I did it purposely so that the darker side would be towards the bottom. Let's put a block on there to hold it. And now let's die cut the wheel. In the sample card, I used a mat metallic card stock in this one I'm using one that's a little bit on the shiny side. You could also use just like a gray card stock that would work as well. Let's run it through my machine. If you haven't done any dye cutting before, I use my big shot a lot. So you've probably seen one work, but this is the die. It's got all those little raised edges are the blades. I'm going to put the blade side to the paper and have it so that the blade side is facing up. Then run it through super-simple and cuts the card stock like magic. When I cut this out or when I pull this out of the paper, I'm only pulling the outline. I want all those pieces to stay in there just because I liked the way it looked. You could use this just as an outline and pull all those pieces out. It's just personal preference. So the other thing that I'm gonna get ready as my little sentiment here, I have a strip from doing one of the sentiments before. And it should be good width. So I'm just going to use that. Center it and then I'm just going to trim the end with some scissors. Something this tiny is easy enough to get a nice straight cut in. Then we're going to simply glue those pieces down. I'm gonna do my sentiment first so that I can place the whale round it. Then because there's all sorts of tiny little pieces on that way. All I want to make sure to get some glue at least on each and every one of those so they don't pop out when my card is completed, as well as getting some glue on the outline. For the same reason, I don't want things to little bits to raise up. I like it when the top or the tail is up high and then the wheel is downloading and I need to place my block there to hold it in place to dry as well. So it shouldn't take too long to dry. It just having that block there, it just weighs it down nice and evenly. When it is done. It'll look exactly like that, but just with a slightly different color for my wheel. I'll see you in the next one and we will create a card by dy cutting one of the jelly prints. 11. Creating a Gelli Print Embellishment for Paper Crafting: All right, For our last card, we're going to take one of our jelly prints and we're going to cut it up with a dicot and create an embellishment for Ricard. Now in this case, we also used a jelly print for the background. You could use plain paper or whatnot. You could use plain paper and then use it. A whole bunch of these bugs that are cut out of jelly prints. The sky is the limit. But sorry, some of the prints that you're going to create are not necessarily going to be ones that are great for backgrounds, but perfect for decoding and creating embellishments that way. The very first step is I'm going to glue my background piece to the card in a way that down so that that has time to glue down while we make our embellishment. And before I do that, I'm going to take the dark green ink pad that we've been using. And I'm just going to anchor around my paper here just to give it a bit of a frame. You certainly don't have to. But I just find that it frames it a little bit. It adds a little bit more of that green color to it. I just like to look at lookup it. I'm going to actually put it up here too. Dry. Let's glue it. Alright, so we are going to leave that to dry. And now let's die cut our bird pieces. I'm going to do just like this one here. I'm going to do two of them in a solid color and one of them in the print. If I did it all in the print, you probably wouldn't see all the different pieces. And I think this way brings out some of the interests of the bird. I'm going to cut this in half and use that for my solo pieces. And then I'm going to choose which part I want for my bird. Now, it's going to be at the bottom here. So I'm gonna choose some of the lighter colors. But I didn't want it super, super late. Cutting it exactly the same way as the whale. Your blade is face up. Your paper were taught. If you can see any part of the GI outside of that paper, then it is not lined up properly. Cuts it almost like magic. We got the one piece there. Let's pop the other bits out. Now, these bird die cuts have little bits that come out of them. Now that the ones have come out on the wings, I'm gonna, I'm gonna take them all out. There was some on the bird here that if they didn't come out of the wings, I was thinking about leaving them but that's okay. So what's going to happen then is you're going to see some of that other color coming through it. There we go. Now before we put the layers together, I'm going to use some foundry wax to put the silver around the edges. And what this is, it's a new product that's just come out. It is a silver liquid wax, and it comes in four different colors. That comes in gold, copper, and then this one here, which is kind of a different color, gold, liquid wax, that you can put around the edges. There we go. Then you use your heat gun to bring the leafing out of it. So it's a silver or it's a leafing wax no matter what color you use, I'm keeps saying silver. That's because those are the one I'm using for this. It dries super quick, so I have to be careful and be quick when I'm doing this. Just putting it around the edges and on the feet and beak of the bird. And I would tend to be a little bit more careful than that and not get I like getting some blobs around the edges, but that was a bit much and same with that one. That was a bit much. Like I said, it dries very quickly. While that's drying. I'm going to clean this up. So just needed some isopropyl alcohol, spirits at boron and then use a cloth or a wave. I'm just going to use dried up white chronicity. It cleans up that easily. I'm going to take my heat gun out. I'm going to hold the bird or the pieces down with my diaper bag so that they don't float away. Just like when you're embossing, you see it go from kind of like a matte to a really shiny leafing. One of those products. When you have it, you start putting it on everything. All right. I'm just going to pop those up here to cool down for a minute. And it really doesn't take very long. But what I'm going to do is do my sentiment while we're waiting. This is quite long for a card, so I'm going to be cutting it up. This one because it's as long as it isn't going to cut it up in three. Use this little bit here too. Mad it. When you're working on pieces this small, it's hard to get them all exactly perfect. But I'm gonna try to get them as close as possible to the same size as each other. Glue it down, then trim it. I'm going to try to get my trimmer or top of there. So you can see now when I'm doing it, I lie on the edges of that white dicot with my ruler. That's how I get it straight. I've gotten a little bit of silver on my hands, so I'm transferring it over there. You want to be a little bit more careful not to do that. We're gonna do the same thing for the other two here. One last one. Alright, so our sentiment is ready. You are dicot together. For this one, it's as simple as layering all the pieces up. This bird here is the lowest part. The wing. Really I could put it together on top of the card as well. And just like the card base I would typically put it on. I see that it's shifted when I put my block on there. I would typically put my dicot on my card for this one anyways, just because of the different pieces that they tend to they tend to kind of curl up a little bit with the liquid glue. I'm gonna put my sentiment down. Then I'm going to put my block on it to hold it all down to dry. Obviously, whatever sentiment you have will work. And it doesn't necessarily have to be in several different parts. But I do like when some cards have sentence split down into several different parts. So there you go. I'm going to let that sit there, held down to dry. And now you know for different card ways that you can use to use up some of your gel prints. Because what's the point in making these prints? If we can't create with them. 12. Gelli Printing with Ink Pads Class Thank You: Thank you so much for joining me for the jelly printing with ink pies, ink pads class. I hope you enjoyed learning all the different techniques you can use with using ink pads on your jelly plate. And then have fun learning how to make different cars into them. Hope to see you soon in the next class.